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Throughout her painting practice, Natalka Husar has consistently explored concerns related to her Ukrainian heritage and gender. This exploration is embedded in the work Lucky Bunny, which is part of a larger series about a fictional group of young girls who are part of the new wave of post-Soviet, post-colonial immigration to Canada. Like all Husar’s works, a tongue-in-cheek humour emerges in the odd juxtapositions of the girls posing in awkward attempts to assimilate with what they see as glamorous North American culture. An ambiguous sexuality is suggested in the prepubescent girls posing presumably nude, covered only by fur coats. This work belies deeper implications about the human condition, relating to collective feelings of uncertainty and wanting to belong.